Originally presented as the author's thesis (doctoral)--University of Cologne, 2019.
Contents:
Introduction -- A private passion : Bacon's attitude towards photography -- State of research -- Luck and chance : painting 1946 as a case study -- The iceberg : research material and definition of 'photographic reference' -- The studio : analysis of the working environment -- 'A little corner of South Kensington' -- 'Cat in a cage' Francis Bacon in Reece Mews -- 'A heap of broken images' : preparatory processes -- Drawing a line : drawings versus photographs -- Comparative analyses : Bacon's paintings and their photographic references -- Spatial setting and photography -- Spatial settings : abstract, elusive, unreliable -- The stage set : figure and ground -- Figure and photography -- 'Collage is not my medium' : the construction of the figure -- Figure, outline, materiality : closest to and furthest away from the photograph -- Narrative, identity and the use of photographs -- 'I don't want to tell a story, I have no story to tell' -- Portrait and identity : no less than life itself -- Colour and photography : 'Colour is a most mysterious thing' -- Conclusion : 'A sponge that absorbs everything'.
Subject Terms:
Bacon, Francis, 1909–1992 -- Criticism and interpretation. | ART / General. | Bacon, Francis, 1909–1992.